外國短篇小說閱讀期末考試

1. 任何一篇英美短篇小說的英語論文

《呼嘯山莊》人物關系結構

Title：
Catherine's dilemma between love and marriage in Wuthering Heights
——The Psychoanalysis of love triangle relationship with Freud』s theory of personality

Abstract：
Wuthering Heights tells a story of superhuman love and revenge enacted on the English moors. In this thesis, an attempt is made to analyze the love triangle relationship which leads to Catherine's dilemma between love and marriage in Wuthering Heights by virtue of Freud』s theory of personality.

Key words：
Wuthering Heights Freud』s theory of personality love triangle relationship

In Catherine's heart she knows what is right, but chooses what is wrong. It is her wrong decision that pushes her into the inextricable [LunWenJia.Com]dilemma between her love and marriage; it is her wrong choice that plunges the two families into chaos. In the mind, she is truly out of her way.

According to Sigmund Freud(1856—1939), the structure of the mind or personality consists three portions: the id, the ego, and the superego.「The id, which is the reservoir of biological impulses, constitutes the entire personality of the infant at birth. Its principle of operation, to guard the person from painful tension, is termed the pleasure principle. Inevitable frustrations of the id, together with what the child learns from his encounters with external reality, generate the ego, which is essentially a mechanism to minimize frustrations of the biological drives in the long run. It operates according to the reality principle … [LunWenNet.Com]The superego comprises the conscience, a partly conscious system of introjected moral inhibitions, and the ego-ideal, the source of the indivial's standards for his own behavior. Like external reality, from which it derives, the superego often presents obstacles to the satisfaction of biological drives.」「In the mentally healthy person, these three systems form a unified and harmon
ious organization. Conversely, when the three systems of personality are at odds with one another the person is said to be maladjusted.」 Here Catherine's tragic psychological process may be well illustrated by Freudian psychoanalysis.

「I cannot express it; but surely you and everybody have a notion that there is, or should be, an existence of yours beyond you. What were the use of my creation, if I were entirely contained here？」 Catherine's strange words reflect that the intelligent Emily Bronte had been earlier pondering over a same question in her work. What on earth is「the existence of Catherine's beyond Catherine」？

Here we may believe that Heathcliff stands for Catherine's instinctual nature and the strongest desire—her 「id」 in the depths of her soul; Edgar, her ideal 「superego」, represents another part of her personality: the well-bred gracefulness and the superiority of a wealthy family; and she, herself is the 「ego」 tortured by the friction between the two in the disharmonious situation.

In the light of Freud's theory of personality, 「the superego is the representation in the personality of the traditional values and ideals of society as they are handed down from parents to children.」 Catherine's choice of Edgar as her husband is to satisfy her ideal 「superego」 to get wealth and high social position, which are the symbol of her class, on the basis of the ecation by her family and reality from her early childhood. She is a Miss of a noble family with a long history of about three hundred years. Only the marriage well-matched in social and economic status could be a satisfaction for all: her family, the society and even her practical self. 「It would degrade me to many Heathcliff now ... if Heathcliff and I married, we should be beggars？」 This is her actual worry for her future. Catherine yields to the pressure from her brother, and alike, in truth, she is yielding to the moral rules of society, without the approval and identification of which, she could not live a better life or even exist i
n it at all.

However, Catherine underestimates what her other more intrinsic self would have effect on her. The most remarkable claim by Catherine herself may be the best convincing evidence to distinguish the different roles of Heathcliff and Edgar—her 「id」 and her 「superego」:

「My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else perished, and he was annihilated, the universe would turn to a mighty stranger: I should not seem a part of it. My love for Linton is like foliage in the woods: time will change it. I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I'm Heathcliff! He's always, always in my mind: not as a pleasure and more than I am always a pleasure to me, but as my own being. So don't talk of our separation again: it is impracticable.」

It was a happy thought to make her love the kind, wealthy, weak, elegant Edgar, yet in submission to her superego to oppose against her id, she would fall into a loss of the self. Since the id is the most primitive basis of personality, and the ego is formed out of the id, Catherine's life depends wholly on Heathcliff， as the whole connotation and truth of her life in the cosmic world, for its existence and further more for the significance of her existence. Heathcliff is the most necessary part of her being. She marries Edgar, but Heathcliff still clutches her soul in his passionate embrace. Although she is a bit ashamed of her early playmate, she loves him with a passionate abandonment that sets culture, ecation, the world at defiance. Catherine's wrong choice for marriage violates her inner desires. The choice is a victory for self-inlgence—a sacrifice of primary to secondary things. And she pays for it.

On one hand, Catherine doesn't find the heavenly happiness she was longing for. Though as a girl 「full of ambition」and 「to be the greatest woman of the neighborhood」 would be her pride, the enviable marriage could only flatter her vanity for a second. After her marriage, the comfortable and peaceful life in the Grange was just a monotonous and lifeless confinement of her soul. She feels chocked by the artificial and unnatural conditions in the closed Thrushcross Grange— a world in which the mind has hardened and become unalterable.「If I were in heaven, Nelly, I should be extremely miserable. 」 Catherine eventually knows that the Lintons' heaven is not her ideal heaven. She and Heathcliff really possess their common heaven. Just as Catherine says,「Whatever our souls are made of, his and mine are the same; and Linton's is as different as a moonbeam from lightning, or frost from fire.」

Catherine doesn't want to live in the Lintons' heaven; on the other hand, she has lost her own paradise that she ever had with Heathcliff on the bare hard moor in their childhood. The deepest bent of her nature announces her destiny—a wanderer between the two worlds. When she is alive, she occupies a position midway between the two. She belongs in a sense to both and is constantly drawn first in Heathcliff's direction, then in Edgar's, and then in Heathcliff's again and at last she loses herself completely. Her childish illusion to use her husband's money to aid Heatllcliff to rise out of her brother's power has vanished in thin air. And her constant struggle to reconcile two irreconcilable ways of life is in vain too, which only caused more disorder in the two worlds and in herself as well.

In Freudian principles, should the ego continually fail in its task of satisfying the demands of the id, these three factors together—the painful repression of the id's instinctual desires, the guilt conscience of revolt against the superego's wishes, and the frustration of failure in finding outlets in the external world- would contribute to ever-increasing anxiety. The anxiety piles up and finally overwhelms the person. When this happens, the person is said to leave hallucinatory wish-fulfillment, then a nervous radical breakdown, and in the end may finish the person off. Catherine is destroyed into psychic fragmentation by the friction between the two. At the height of her Edgan-Heathcliff torment, Catherine lies delirious on the floor at the Grange. She dreams that she is back in her own old bed at Wuthering Heights 「enclosed in the oak-paneled bed at home, and my heart ached with some great grief…my misery arose from the separation that Hindley had ordered between me and Heathcliff.」Still dreaming, she t
ries to push back the panels of the oak bed, only to find herself touching the table and the carpet at the Grange:「My late anguish was swallowed in a paroxysm of despair. I cannot say why I was so wildly wretched ... and my all in all, as Heathcliff was at that time, and been converted at a stroke into Mrs. Linton...the wife of a stranger: an exile, and outcast.」 She attempts to forget the lengthy days of years of life without her soul even in her temporary derangement.「Most strangely, the whole last seven years of my life grew a blank! I did not recall that they had been at all.」 Her mental and physical decay rapidly leads to the body's mortal end. She dies and seems to have none into perfect peace.

But even after her death, she is still a wandering ghost. In Chapter 3, Lockwood, the lodger in Catherine's oak-paneled bed at Wuthering Heights dreams about the little wailing ghost:

「The intense horror of nightmare came over me: I tried to draw back my arm, but the hand clung to it, and a most melancholy voice sobbed, 『Let me in-Let me in』.『 Who are you?』…『Catherine Linton』, it replied, shiveringly…『I'm come home: I'd lost my way on the moor!』…Terror made me cruel; and finding it useless to attempt shaking the creature off, I pulled its wrist on to the broken pane, and rubbed it to and fro till then blood ran down and soaked the bedclothes: still it wailed, 『Let me in!』…it is twenty years, twenty years. I've been a waif for twenty years!」

Catherine aspires to be back in her heaven even being a spirit. But leer self-deceptive decision has made her fall from her and Heathcliff's heaven full of demonic love and her never docile or submissive nature has drawn her out of her and Edgar's heaven filled with civilized emptiness in the meantime. She pushes herself into her tragedy, the endless dilemma between her love and marriage, which won't end up with her death.

Bibliography：
1.Bronte Emily，Wuthering Heights，Beijing：Foreign Language Teaching and Research Press，London：Oxford University Press 1995
2.Freud Sigmund，Interpretation of Dreams，Beijing：Foreign Language Teaching and Research Press 2001
3.Travis Trysh，Heathcliff and Cathy，the Dysfunctional Couple，The Chronicle of Higher Ecation，Washington，2001
4.Steinitz Rebecca，Diaries and Displacement in Wuthering Heights，Studies in the Novel，Denton，2000

http://www.lunwennet.com/thesis/List_21.html 裡面有你需要的英語論文，我載老一篇，不合適切看下嘛，呵呵！！！

2. 適合高中生閱讀的外國文學作品（短篇）

推薦五篇深深打動過我的短篇小說，這些小說我視作第一流的短篇作品，但在80年代生人里，可能傳播范圍遠不能與其成就相匹，信任我的人可以在閑暇時品酌一下。

《品質》 約翰·高爾斯華綏（John Galsworthy）1867—1933 1932年諾貝爾文學獎獲得者 《品質》描寫了一個誠懇、高尚、忠於技藝的鞋匠，他和哥哥只承做定貨，不出售現成靴子，他從不登廣告，用最好的皮革，「只有親眼看過靴子靈魂的人才能做出那樣的靴子」，他的技藝贏得了競爭對手由衷地尊敬。然就這樣最出色的鞋匠，最後卻餓死了。因為浮躁的社會里，人們對靴子世俗要求承載不了完成一件藝術品所需的時間，況且，他做的靴子不會壞，你不需要再去買第二次。
高爾斯華綏出生在英國的豪富家族裡，父親是倫敦聲名顯赫的大律師，就是這樣的一位作者，在小說里對這位日耳曼鞋匠充滿了深篤的感情，短短四五千言，沒有什麼華麗而感情強烈的詞藻，但每一行都透著堅定而深情地敬意。

《沉重的時刻》 托馬斯·曼（Thomas Mann）1875—1955 1929年諾貝爾文學獎獲得者 《沉重的時刻》是為紀念席勒逝世一百周年而作。小說描寫了席勒在創作中遇到困難而幾乎喪失信心，但在心靈的感召下，又重新振作起來的過程。小說用細致深刻的內心描寫，刻劃了一個意志堅強、思想高尚的偉大靈魂。
我曾在札記本上從小說中摘抄了以下的文字，當自己為夢想而等待、失落、彷徨甚至想放棄的時候，看看它們，看看席勒那痛苦而深邃的靈魂，就會讓我無比篤定。
「他是一個貧乏的人，一個流浪漢，一個厭世者，一個被壓迫的、幾乎沒有人同情有人。但是他年輕，他還非常年輕！每一次不管他的腰彎得多麼低，他的精神是高揚的。在長時間的痛苦之後，跟著來的是信心堅定，內心裡充滿了愉快的時候。這種時候不在來了，很難再來了……他失掉了對將來的信心，這信心就是他痛苦中的明星。事情就是這樣子，這是一種絕望的真理：他認為是患難和考驗的，痛苦和空洞的年代，實際上卻是豐富而有收獲的年代……」

《青魚》 赫爾多爾·奇里揚·拉克司奈斯（Halldor Kiljan Laxness）1902—1998 1955年諾貝爾文學獎獲得者 拉克司奈斯出生於雷克雅未克郊區的農民家庭，由於貧窮，從未上過學，也許這對於天才是幸事，未被標准化教育統一過的人，往往能寫出極具個人風格的作品，一如我少年時的偶像，沈從文先生。《青魚》是很特別的小說，自成一格，小說中抒情與批判、幽默與諷刺渾然一體，剛柔並濟。小說表現了一個小漁村中極度貧困、蒙昧和麻木的人們，但看完並不覺得他們如魯迅小說中蒙昧麻木的人們那般可鄙，相反，他們很可愛，老卡達在刮青魚時近乎捨命的狀態，挖掘出了人性中最原始的，未經修飾和美化的自我追求。

《紀念愛米麗的一朵玫瑰花》 威廉·福克納（William Faulkner）1897—1962 1949年諾貝爾文學獎獲得者 跟之前的三人比起來，福克納在中國傳播應該是更為廣泛，我在很多人家裡都見過他的《喧囂與憤怒》，作為美國最重要的現代派小說家之一，他對現在這些流行文學的影響也遠甚於批判現實主義時期的作家。一直以來，對福克納的研究很盛，誕生出了如「約克納帕塌法世系」這樣聽著令人眩暈的成果。我還是很喜歡《紀念愛米麗的一朵玫瑰花》的，喜歡其怪誕、妖異的氣氛，喜歡其高超的敘事技巧，讓讀者一點一點地接近人物內心世界，最後急轉直下，讀者才得以窺見完整的人物形象。作為「約克納帕塌法世系」的組成部分，《紀念愛米麗的一朵玫瑰花》很好的體現了福克納的風格。

《牆》 讓—保羅·薩特（Jean-Paul Sartre）1906—1980 1964年被授予諾貝爾文學獎，但薩特以「謝絕一切來自官方的榮譽」為理由拒絕 作為存在主義文學的代表作，《牆》的名氣有些過於大了，這違背了我推薦一點「在80年代生人里，傳播范圍遠不能與其成就相匹」的短篇小說，就像我沒有選《老人與海》、《變型記》這樣優秀，但路人皆知的短篇小說，或是被小資們重新推入暢銷書榜的卡爾維諾和茨威格。但存在主義對我影響實在太大了，我很難克服自己繞開《牆》這部小說。
與之前四部不同的是，前面四部都著力塑造了極具特點、個性鮮明的小說人物，但這也正是薩特所反對的，他反對作品把人物典型化、集中化，認為作品塑造人物不應比現實來得更美或更丑，應該赤裸裸地把真實表現出來。《牆》里的反法西斯戰士，生存或者死亡完全取決於偶然，他們並不高大，也不是英雄，只是一群「骯臟世界」里的「生存者」。我喜歡《牆》所表達的存在主義觀點，存在先於本質，人不是預先規范好的，而是在行動中才形成的，「人是自己行動的結果，此外什麼都不是」。

3. 一篇外國小說（短篇）名稱，閱讀理解

篇名：等著的轎車 體裁：小小說 作者：歐·亨利 黃昏來臨了，身穿灰色衣服的姑娘又來到了小公園的那個安靜的角落，坐在一張長椅子上開始讀書。她的臉看起來很秀氣，那件灰色衣服卻是普普通通的。前一天也是這個時候來到這里，再前一天也是如此，有個小夥子知道這些情況。 這個小夥子慢慢地靠近她。就在這時，姑娘手中的書滑到了地上。小夥子順勢撿起書，有禮貌地遞了過去，隨便地講了幾句關於天氣的寒暄話，就靜靜地站在一旁。 姑娘看了一眼小夥子簡朴的衣著，一張並不引人注目的普普通通的臉。 「如果你願意，就請坐吧。」她深沉地低聲說，「光線太暗了，無法看書，我現在想聊聊天兒。」 「你知道嗎?」他說，「你是我一生中見到的最漂亮的姑娘。昨天我就見到你了。」 「不論你是誰，」姑娘冷冰冰地說，「你得記住，我是一位小姐。」 「實在冒昧，」小夥子說，「都是我的不是。你也不知道——我的意思是公園里有這么多的姑娘，你也知道——當然，你不知道，但是……」 「換個話題談談吧。當然，我知道了。講講這些來往的遊客吧，他們去哪兒?為什麼那麼匆忙?他們感到幸福嗎?」 小夥子一時還沒搞清， 自己究竟應扮演一個什麼樣的角色。 「我所以到這里來坐，只是因為我能接近這么眾多的遊客。我跟你講話，是因為我想找一個天性善良的人，一個沒有銅臭、不是唯利是圖的人聊聊。你不知道我是多麼厭惡錢哪——錢，錢，錢!我討厭我周圍的那些男人。我不喜歡自得其樂，看不上珍珠寶石，也懶得遊山玩水。」 「我可總是這么認為，」小夥子說，「錢是個好東西。」 「當你有了成百萬塊錢，你就可以兜風、看戲、跳舞、赴宴。可我對這一切膩透了!」姑娘回答。 小夥子很有興趣地看著姑娘。 他說：「我可很喜歡研究和探聽富人們的生活。」 「有時候，」姑娘繼續說，「我想，如果我要戀愛的話，就要愛一個普通的小夥子。——你的職業是什麼?」 「我只不過是一個普普通通的人，但是我希望我能在這個世界上出人頭地。你剛才說的當真是這個意思：你會愛上一個普普通通的人?」 「當然啦!」她回答。 「我在飯店工作。」小夥子說。姑娘心裡一驚，問道：「該不會是個跑堂兒的吧?」 「我就是這個飯店的出納員，你看見那裡耀眼的有『飯店』兩字的霓虹燈招牌了嗎?」 姑娘看了看手錶，站起身來問：「你怎麼不上班!」 「我上夜班。」小夥子答道，「離上班時間還有一小時呢!我能再見到你嗎?」 「不知道，也許可以。我得馬上走了。哦，今晚我要去赴宴，還有一個音樂會呢。你進來時，可能看到公園門口有一輛白色小轎車吧?」 「是的，我看到了。」小夥子回答。 「我正是坐這輛車來的，司機正在等我呢，再見!」 「現在天已黑了，」小夥子說，「這公園里壞人太多，要不要我送你上小轎車。」 「你還是在長凳上坐十分鍾再走吧。」說完，姑娘就朝著公園大門走去。小夥子盯著姑娘漂亮的身影，然後起身跟在她的後面。 姑娘走到公園大門口，轉過頭看了一眼那輛小轎車，就走了過去。她橫穿馬路，走進那個有耀眼的「飯店」兩字的霓虹燈招牌的飯店。店裡的出納櫃台上一個紅頭發姑娘看見她來了，就離開了座位，這位身穿灰色衣服的姑娘就接替了紅頭發姑娘的工作。 小夥子把手插進口袋，在街上慢慢地踱著。然後，他走近那輛轎車，鑽了進去，對司機說：「去夜總會，亨利。」